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The way a film starts and the way it ends can tell a lot about a movie, as well as the particular style of the director behind the project. Numerous films throughout history have had memorable opening and closing shots that have elevated the feature in question, while also taking on a life of their own as iconic moments in cinema.
Following his first exploration of first and final frames in film, vimeo user Jacob T. Swinney has revisited the topic in a new video, looking at 70 new films and how their opening and closing mirror each other. Swinney had this to say in the episode description.
After numerous requests, I finally decided to create a sequel to “First and Final Frames”. Part II plays the opening and closing shots of 70 films side-by-side. Like the first video, some of the opening shots are strikingly similar to the final shots, while »
- Deepayan Sengupta
If we’re to believe documentarian Cem Kaya, 70% of today’s Hollywood output is either a remake, sequel, or reboot. We live in a culture where “original” ideas aren’t getting big studio budgets, because smart money is made by playing off of people’s nostalgic love. Why gamble on uncertainty when you can just reconfigure old stories for a new audience? It’s a simple business practice, and while most American film journalists have only been complaining about this phenomenon for the last decade or so, Remake, Remix, Rip-Off proves that this business model has been around far longer than we knew, in the distant, movie-obsessed land of Turkey.
During the 70s and 80s, Turkey’s film industry (Yeşilçam) was alive and thriving, but their methods were not of today’s Hollywood standards. Given an absolute lack of Turkish copyright laws, filmmakers would rip-off American movies with absolutely no repercussions. »
- Matt Donato
The three-year run of Hannibal, one of the most visually and narratively innovative series ever to air on television, broadcast or cable, came to a breathtaking conclusion Saturday night. I have already confessed to a bit of selfish melancholy that there will be no more surprises, no more opportunities to get lost in the show’s radical approach to reimagining Thomas Harris’s well-known and well-trodden scenarios, and no more sweet, agonized anticipation over what form the show, probably the most envelope-pushing of any network show ever aired, might take in its own becoming. But I must also confess that I couldn’t be more satisfied with the way Hannibal, all three seasons now fully unveiled, was orchestrated to a beautifully modulated finish that illustrated the truly expressive and even transcendent (of the limitations of a more audience-friendly, more comfortingly linear structure and tone) achievement of Bryan Fuller’s series. »
- Dennis Cozzalio
With Fright Rags, there is something for everyone and if you are a fan of the 1985 fantasy comedy Teen Wolf, you are in luck! Also in this round-up: a look at The Walking Dead #1 variant cover available at Wizard World Pittsburgh and a new clip from Queen of Earth.
Teen Wolf Collection: Fright Rags' newest collection is inspired by the basketball dunking teen wolf himself played by Michael J. Fox (Back to the Future franchise). The collection contains two shirts, a poster, and a trucker hat. Get one of these four limited Teen Wolf-inspired items before they are going, going, gone!
The T-Shirts are $27.00 apiece, the posters are $35.00 apiece, and the hats are priced at $25.00 apiece. To purchase any of these items, you can visit the Fright Rags online shop.
- Tamika Jones
From the director of the brilliant, inventive Chronicle, the producers of X-Men and Mark Millar (Kick-Ass, Kingsman: The Secret Service), on board as creative consultant, comes Fantastic Four, a reboot of Stan Lee and Jack Kirby‘s comic book series that started all of the way back in 1961. With that amount of creative talent on board, we’re in for something quite special… right? Unfortunately not.
I’ve heard the words ‘best super-hero movie of the year,’ and some other really quite positive things said about Josh Trank‘s Fantastic Four over the past few days. I’ve also heard some quite negative stuff said about his movie, one which the distributors failed to show international critics until the last-minute on its week »
- Paul Heath
Stanley Kubrick was a sucker for order, so he might have appreciated the desire to catalogue his career. However, since his films often warn against placing too much faith in systems, perhaps he knew that this way madness lies.
Frankly, most of his films have fair claim to being number one, so establishing first amongst equals means some hard choices have been made along the way - just try not to trigger the doomsday device or start swinging the axe if you don't agree.
So without further ado, let's open the pod bay doors and enter the enigmatic, exceptional work of Stanley Kubrick.
13. Fear and Desire (1953)
Even a genius has to start somewhere. Already a successful magazine photographer and documentary maker, 24-year-old Kubrick directed his debut about a military mission on limited funds - it was shot silently with sound added later.
Plagued by difficulties, Kubrick later called it "a completely inept oddity, »
Deadline reported earlier that a screenplay that Stanley Kubrick (The Shining, A Clockwork Orange and Full Metal Jacket) wrote in 1956 will be developed into a trilogy. Kubrick wrote the civil war era screenplay, The Downslope, between other war films, Fear and Desire and Paths to Glory. The trilogy of films will be produced by Marc Forster (Monster's Ball and World War Z) and he will direct the first installment. An anti-war story, The Downslope focuses on a bitter, strategic series of Civil War battles in the Shenandoah Valley between young Union General George Armstrong Custer and Confederate Colonel John Singleton Mosby (known as the Gray Ghost for his stealth strategies). His cavalrymen, known as Mosby's Rangers, continually outsmarted the much-larger enemy forces in a sequence of...
[Read the whole post on twitchfilm.com...]
As one would expect from the ever audacious, thoughtful filmmaker, there are more than a few projects Stanley Kubrick developed but never brought to the screen. Though efforts have been made in the past to bring his unfinished works to life, namely through Steven Spielberg's A.I. Artificial Intelligence or the multiple rumors over the years to satisfy his vision of Napoleon in the form of a film or mini-series, most were put to rest with the filmmaker back in 1999. But apparently one of his earliest unmade screenplays -- 1956's The Downslope -- was dusted off the shelves somewhere in Hollywood recently, and director Marc Forster (World War Z) has decided to take a stab at bringing Kubrick's lost script to the screen. And because it's Hollywood, it'll be not just one film but an entire trilogy. Forster's only attached to direct the first, but plans to produce all three installments, »
- Will Ashton
One of late filmmaker Stanley Kubrick's unproduced screenplays, entitled The Downslope, is now being developed as a movie trilogy, directed by Marc Forster (World War Z). The director will also produce alongside Philip Hobbs (Full Metal Jacket) and Steve Lanning (The Secret Garden), who hold the rights to the script, with the project moving forward with the full support and encouragement of the Kubrick family. Lauren Selig (Black Mass), Barry Levine (Hercules) and Reneé Wolfe (All I See Is You) are also producing and developing the script with Marc Forster.
The Downslope is described by The Wrap as a "cautionary, anti-war tale". The story follows a series of Civil War battles in the Shenandoah Valley between Union General George Armstrong Custer and Confederate Colonel John Singleton Mosby, known as the Gray Ghost for his stealth and elusiveness. His cavalrymen, Mosby's Rangers, continually outsmarted the much larger enemy forces in a sequence of raids, »
Written in 1956 following the release of Kubrick's allegorical war film “Fear and Desire,” "The Downslope" was a sweeping Civil War action-drama based on historical events. But Kubrick chose to direct instead his Ww I anti-war Oscar-winner “Paths of Glory." "The Downslope" was another cautionary, anti-war tale, that was originally developed with renowned Civil War historian Shelby Foote, who later collaborated with documentarian Ken Burns on his hugely popular PBS series "The Civil War." Forster (“Finding Neverland,” “Monsters Ball") is attached to direct and produce the first in the series and will produce the remaining features. Producers Lauren Selig, Barry Levine and Reneé Wolfe are developing the material with Forster. Selig initiated the project with rights holders Phil Hobbs (“Full Metal Jacket”) and Steve Lanning, who are also producers on the project, which has the full support of the Kubrick »
- Anne Thompson
Stanley Kubrick‘s original screenplay “The Downslope,” a sweeping, historical action-drama he wrote in 1956, is being developed as a feature trilogy with Marc Forster (“World War Z”) attached to produce as well as direct the first film in the series, it was announced Monday. Producers Lauren Selig (“Everest”), Barry Levine (“Hercules”) and Reneé Wolfe (“All I See Is You”) are developing the project with Forster. Selig reached out to rights holders Phil Hobbs (“Full Metal Jacket”) and Steve Lanning, who will also serve as producers on the project, which boasts the full support and encouragement of Kubrick’s family. “The Downslope” is. »
- Jeff Sneider
Lauren Selig (“Lone Survivor”), Barry Levine (“Oblivion”) and Reneé Wolfe (“All I See Is You”) will be producing with Forster. Selig initiated the project with producers/rights holders Phil Hobbs (“Full Metal Jacket”) and Steve Lanning, who are also serving as producers.
The movie has the full support and encouragement of the Kubrick family. Kubrick wrote the script following the release of his allegorical war film “Fear and Desire” and prior to directing his World War I drama “Paths of Glory.” Both films were cautionary, anti-war stories.
“The Downslope” centers on a series of Civil War battles in the Shenandoah »
- Dave McNary
Directed by Nick Willing.
A family move into an old house on the Yorkshire moors and begin to fall under its spell.
Within the first 10 minutes of The Haunting of Radcliffe House (a.k.a. Altar, which is a much less foreboding title) it would take somebody who had lived in a cave all of their life not to notice the three obvious plot points lifted from other (better) horror movies, and if you’ve never seen Hellraiser, The Shining or The Amityville Horror then a) what are you doing with your life and b) you’d be better off watching those than you would this film. That is because The Haunting of Radcliffe House does not have an original thought or idea contained within its paper-thin script or uninspiring direction, »
- Gary Collinson
HitFix's recent spate of "Best Year in Film History" pieces inevitably spurred some furious debate among our readers, with some making compelling arguments for years not included in our pieces (2007 and 1968 were particularly popular choices) and others openly expressing their bewilderment at the inclusion of others (let's just say 2012 took a beating). In the interest of giving voice to your comments, below we've rounded up a few of the most thoughtful, passionate, surprising and occasionally incendiary responses to our pieces, including my own (I advocated for The Year of Our Lynch 2001, which is obviously the best). Here we go... Superstar commenter "A History of Matt," making an argument for 1968: The Graduate. Bullit. The Odd Couple. The Lion in Winter. Planet of the Apes. The Thomas Crown Affair. Funny Girl. Rosemary's Baby. And of course, 2001, A Space Odyssey. And that's only a taste of the greatness of that year. "Lothar the Flatulant, »
- Chris Eggertsen
All week long our writers will debate: Which was the greatest film year of the past half century. Click here for a complete list of our essays. How to decide in the grand scheme of things which film year stands above all others? History gives us no clear methodology to unravel this thorny but extremely important question. Is it the year with the highest average score of movies? So a year that averages out to a B + might be the winner over a field strewn with B’s, despite a few A +’s. Or do a few masterpieces lift up a year so far that whatever else happened beyond those three or four films is of no consequence? Both measures are worthy, and the winner by either of those would certainly be a year not to be sneezed at. But I contend the only true measure of a year’s »
- Richard Rushfield
Whether you like it or not, the summer movie season is right around the corner! Of course, blockbusters sprout up all throughout the year, with movies like The Divergent Series: Insurgent and Furious 7 setting the box office on fire even before the "official" summer movie season kicks off...But the four-month period between May and August is simply jam-packed with big-budget tentpoles, outlandish comedies and even a few memorable indie dramas. Before you start snatching up tickets to your favorite summer movies, we have a handy guide breaking down all of the major studio blockbusters, and even a few independent flicks that have the potential to break out into the mainstream. Here our the 35 movies you simply can't miss this summer!
1Avengers: Age of Ultron - May 1
Vidhu Vinod Chopra has produced some of the best in Bollywood from 1989’s Parinda, to 2003’s Munna Bhai Mbbs and the follow up Lage Raho Munna Bhai in 2005, Parineeta in 2005, 3 Idiots in 2009 and last year’s big hit Pk. After making some brilliant films in Bollywood, the director decided to pursue a long held dream of making a film in Hollywood. What is even cooler is that he is just not producing the film, he also wrote and directed the thriller titled Broken Horses. The film stars a huge cast of Hollywood stars including Vincent D’Onofrio (The Judge, Full Metal Jacket, Men In Black), Anton Yelchin (Star Trek, Alpha Dog) and Chris Marquette (Alpha Dog, The Girl Next Door) along with Spanish actress, Maria Valverde (Exodus), Thomas Jane, and Sean Patrick Flannery.
Broken Horses is about the bonds of brotherhood, the laws of loyalty, and the futility of violence. »
- Stacey Yount
A review of this week's "Community" coming up just as soon as I do a baby bird monologue... So far this season, "Community" show has taken advantage of the move to Yahoo to make the episodes a few minutes longer, let them breathe, let subplots and running gags feel fully-developed, and not have to rush through things like the Portuguese "Gremlins" trailer or the payoff to the Dean's relationship with the Japanese teen. They didn't feel padded in the way that many "Arrested Development" season 4 episodes did, but they clocked in at something more closely resembling the platonic ideal of a network sitcom episode length. Directed by Oscar Winner Jim Rash and his longtime collaborator and fellow Oscar Winner Nat Faxon, "Queer Studies and Advanced Waxing" was the longest episode by far, clocking in at close to 31 minutes. It was also the first to feel too long, even though I »
- Alan Sepinwall
The Vietnam War is one of the most-controversial military conflicts in American history and has inspired countless books, televisions series and, most-famously, cinema as a result.
Films such as Forrest Gump, Apocalypse Now, Full Metal Jacket, The Deer Hunter and We Were Soldiers – as well as the Rambo movies – have portrayed the warfare experienced during the Vietnam War, the fierce resistance and anti-war protests back on Us soil, as well as the traumatic effects many soldiers suffered from the sickening conflict.
Yet, just like all popular culture, these films have been inspired by the general myths and perceptions that exist about the Vietnam War – created by the media and via other ways in which the war has been portrayed.
But it is dangerous to just take the stereotypes that have been linked to the Vietnam War as gospel – because in many cases they simply do not bear up to close scrutiny. »
- Chris Waugh
For a majority of classic war movies, the battles are fought by the infantry, slogging through the unimaginable horrors of ground assaults, and from airborne military personnel tasked with serving their country from the sky. As times change and technology continues to advance though, so does tactical warfare, which is now supplemented with the use of drones. In Andrew Niccol’s Good Kill, the emotional conflict that those drone operators are burdened by is explored via Ethan Hawke’s Air Force major, Tom Egan.
Egan’s traumatic daily regimen of blowing up locations thousands of miles away is logged in the film’s latest trailer. Like previous versions of the preview, the emphasis here is on the struggle between maintaining an unemotional response to duty while checking that your moral compass is on point.
Off the back of Boyhood, Hawke’s dalliance with weightier material appears to be offering something new to the action milieu. »
- Gem Seddon
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